Review: JULIUS CAESAR Razor-Sharp Interpretation of Shakespeare Bloodbath at Holden Street Theatres

The city of Rome is suffering, restless, and lying in secret senators cry for the blood of Julius Caesar, a prize they will have. Shakespeare's classic retelling of the historic events surrounding political turmoil in ancient empires has seen countless further renditions, adaptations, references and critiques. The latest from Essential Theatre isn't even the first all-female cast to give dimension to this archetypal tale of betrayal and politics. Yet presented under the Arch of Holden Street Theatres, and perhaps in light of current climates, an exciting energy was generated by this piece. Directed by acclaimed theatre-maker Fleur Kilpatrick, the snares and sentiments of all-female productions gender-flipping well-known work were navigated expertly, perhaps even the best methodology this reviewer has seen (keeping in mind reviewing all-female productions as a male has its own trappings and trivialities).

It was fantastic to see that the subversion of masculine elements was not the proposition of the production, nor was over-oscillation to the feminine, and yet any sense of androgyny was avoided. Most wonderfully, each character had their own sense of personality, sensuality and gender as is authentic representative of humanity, and therefore reminds audiences that the only difference between gender in stories is social cues they themselves assert. The matriarchal society presented in this work did not run in alignment with, nor opposition to patriarchal, which provided an exciting platform for the performers and audience alike.

Thriving most was Amanda LaBonte, playing Brutus, who flourished and fleshed out scenes with her particular armoury of facial and vocal expression that communicated the text with passion rather than diction. LaBonte's mastery was met with Leah Filley's raw emotional talents, Alex Aldrich's compelling verbal and comedic offerings, and Sophie Lampel's deep but rousing sense of character. Playing Cassius, Devon Lang-Wilton delivered a reserved interpretation, which initially gave her a dangerous air, but unfortunately never overflowed into abandon, demonstrating no arrogance or venom, which paled her part in the ensemble. Helen Hopkins in the titular role held much timbre and presence, but seemed too caught in the oration to resonate consistently.

Aldrich warrants further congratulation beyond her diaphragmic performance for costume design and construction, creating plausible and individualised styling that spoke functionally and emotively to the gender politic at play within and without the work itself. Decisions regarding the murder scene were also as enlightened as they were potent, with credit to Assistant Director Joey Burford and Dramaturge Claire McAllister. Although this production has now closed in Adelaide Fringe, it is likely Essential will return, and can be pursued around Australia throughout the year for their clearly-intuited, excellently-executed enterprise.

More information about Essential Theatre here.